In the Minerva, round the tomb of Cardinal Caraffa, he painted the vaulted ceiling, with such delicacy, that it seems like the work of an illuminator; wherefore it was held in great estimation by craftsmen at that time. His master, Filippo, regarded him in some respects as a much better painter than himself; and Raffaellino had acquired Filippo's manner so well, that there were few who could distinguish the one from the other. Later, after having left his master, he gave much more delicacy to that manner in the draperies, and greater softness to hair and to the expressions of the heads; and he was held in such expectation by craftsmen, that, while he followed this manner, he was considered the first of the young painters of his day. Now the family of the Capponi, having built a chapel that is called the Paradiso, on the hill below the Church of S. Bartolommeo a Monte Oliveto, without the Porta a S. Friano, wished to have the panel executed by Raffaellino, and gave him the commission; whereupon he painted in oils the Resurrection of Christ, with some soldiers who have fallen, as if dead, round the Sepulchre. These figures are very spirited and beautiful, and they have the most graceful heads that it is possible to see; among which, in the head of a young man, is a marvellous portrait of Niccola Capponi, while, in like manner, the head of one who is crying out because the stone covering of the tomb has fallen upon him, is most beautiful and bizarre. Wherefore the Capponi, having seen that Raffaellino's picture was a rare work, caused a frame to be made for it, all carved, with round columns richly adorned with burnished gold on a ground of bole. Before many years had passed, the campanile of that building was struck by lightning, which pierced the vault and fell near that panel, which, having been executed in oils, suffered no harm; but where the fluid passed near the gilt frame, it consumed the gold, leaving nothing there but the bare bole. It has seemed to me right to say that much with regard to oil-painting, to the end that all may see how important it is to know how to guard against such injury, which lightning has done not only to this work, but to many others. [Illustration: THE RESURRECTION (_After the panel by =Raffaellino del Garbo=. Florence: Accademia, 90_) _Anderson_]